For form and style, this sonata belongs in a category with Schubert’s Arpeggione, Schumann’s Märchenbilder and other traditional staples of the viola’s repertoire, and it would fit well in a recital program where those works do. In structure, it is quite traditional. However, Lane’s voice, though firmly rooted in Romanticism (especially harmonically), gives the work a more modern perspective as well. As would be expected, there are some twentieth-century American traits in this work to be sure, ...